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Big K

Cadillactica

With his sophomore effort Cadillactica, Big K.R.I.T. (King Remembered In Time) says he's created a planet.

K.R.I.T. has been labeled a Southern Rapper with an Eastcoast Flow. With Cadillactica he shows how versatile and ahead of his time this MC really is. From brag-rap tracks, to introspective songs to classic Hip-Hop bangers (one producted by Raphael Saadiq) Cadillactica is a planet K.R.I.T. wants us all to visit and perhaps take up residence.

Red

For the last two years, I've been working on an album called Red, Taylor says. I called it Red because of the tumultuous, crazy adventures in love and loss that it chronicles. In my mind, when you experience love that's fast paced and out of control and mixes infatuation, jealousy, frustration, miscommunication, and all of those lovely emotions...in retrospect, it all looks red.

After writing her last album (Speak Now) entirely by herself, for this record Taylor collaborated with several artists, producers, and songwriters she had always wanted to work with for the album's 16 tracks, including the lead single, We Are Never Ever Getting Back Together. While Nathan Chapman serves as the lead producer, a variety of producers were involved in the recording process. Swift co-wrote the album with people from all different places in music. Collaborators include Dan Wilson, Butch Walker, Max Martin and Ed Sheeran.

Rolling Stone has described the album as Swift's most eclectic set ever, ranging from 'State of Grace,' a howling, U2-style epic with reverb-drenched guitars, to a sweet acoustic duet with U.K. singer Ed Sheeran. Another key track even features a dubstep-inspired bass breakdown. The album's lead single, We Are Never Ever Getting Back Together, was released in August 2012. The song became Swift's first number one single on the US Billboard Hot 100 chart, recording the highest ever one-week sales figures for a female artist.

1. State of Grace2. Red3. Treacherous4. I Knew You Were Trouble5. All Too Well6. 227. I Almost Do8. We Are Never Ever Getting Back Together9. Stay Stay Stay10. The Last Time11. Holy Ground12. Sad Beautiful Tragic13. The Lucky One14. Everything Has Changed15. Starlight16. Begin Again

Live At The Carousel Ballroom

Import

Big Brother & The Holding Company might best be known for being the first band Janis Joplin sung in, a live recording like this one shows their prowess as a fivepiece band.

Their June 23, 1968 show at the Carousel Ballroom would prove to be legendary on a number of levels. The venue was owned by members of Jefferson Airplane and The Grateful Dead and would later become the Fillmore West. Janis would leave the band only two months after the show to pursue her solo career, making this one of the last times the ensemble worked together. The show was recorded by Augustus Owsley Stanley III , a.k.a. 'Bear', soundman of The Grateful Dead and a masterful LSDcooker, who also supervised the remastering of the recordings shortly before his death in March 2011.

This is to be the first in a series of releases from his archive titled 'Bear's Sonic Archive', and it promises to be one hell of a ride. Though some of these songs have appeared on a 1972 Janis Joplin collection before in a very raw form, this is the first time these recordings are being released on vinyl.

Dedicated to Bear, this live performance is a more than welcome addition to the Big Brother catalogue!

LP11. Combination Of The Two 2. I Need A Man To Love 3. Flower In The Sun 4. Light Is Faster Than Sound5. Summertime 6. Catch Me Daddy 7. It's A Deal 8. Call On Me

Live At The Carousel Ballroom 1968

Starting in 1966, Janis Joplin and Big Brother and the Holding Company became accidental architects of what would be known as the San Francisco Sound. During that important cultural watershed quaintly referred to as the Summer of Love, they provided an unruly, party-tastic link between the cool, cerebral music of the Jefferson Airplane and the psychedelic covenant of the Grateful Dead.

LIVE AT THE CAROUSEL BALLROOM 1968 is a previously unavailable live concert recording of Big Brother and the Holding Company featuring Janis Joplin, recorded by legendary soundman Owsley Stanley, a/k/a Bear, who supervised the mastering of this release before his fatal car accident on March 12, 2011. The release of the album marks the one-year anniversary of his passing and is dedicated to Bear.

This is Bears unique vision how he heard the band live, and how he wanted to transmit it. From the very speciï¬c (non)stereo mix, to the cover artwork he commissioned from Stanley Mouse, to the liner notes written by those who knew Bear best, this truly is Bears presentation of this phenomenal band and inspirational music.

LP11. Combination Of The Two 2. I Need A Man To Love 3. Flower In The Sun 4. Light Is Faster Than Sound 5. Summertime6. Catch Me Daddy 7. Its A Deal 8. Call On Me

Something Else (Awaiting Repress)

After achieving his highest-charting release with 2011's All 6's And 7's (#4 Billboard), Strange Music general Tech N9ne tackles the most ambitious album of his career with Something Else. The Kansas City emcee kept fans busy in 2012 with the release of three consecutive Top 3 rap EP releases - KLUSTERFUK, E.B.A.H., and Boiling Point.

With demand at a fever pitch, Tech N9ne aims to give listeners an untouched piece of his life while cementing his place among rap's elite.

The beats sound nothing like anything you've ever heard me on, say Tech. The features that I'm going for are something you would never imagine. All I can say about it now is that it's a very human album. What I mean by that is that it's contradictory. On one song I say, 'The saint is ours', like we're in the saint's corner and then I have another song called 'I'm Not A Saint'. It's so beautiful because the King, the Clown, and the G are still present on this album.

There are no apologies in what I'm saying. I don't mind that it contradicts itself because that's what people do. The album is everywhere. It feels like it's Hell, Purgatory and Heaven all over again. I'm telling stories that I've never told - that I was afraid to tell on some songs. It's super personal and I've got a big chip on my shoulder again. It's always been there, but it's getting bigger having to prove to fans and critics that we ain't going nowhere.

El Camino

Reviewing The Black Keys' 2010 Top Ten breakthrough album Brothers, Rolling Stone called the duo a two-man combo with a big-band mind. That description seems downright prophetic now. With the hard-rocking El Camino, The Black Keys' fourth Nonesuch release, guitarist-singer Dan Auerbach and drummer Patrick Carney conjure up an exhilarating, stadium-sized sound in collaboration with producer and friend Danger Mouse. El Camino boasts a no-nonsense brilliance: The pace is fast, the mood is upbeat, the choruses unfailingly addictive made for shouting along, preferably in a large, sweaty crowd.

A band already at the top of its game has gotten even better. And The Black Keys have done pretty damn well so far this year, with three 2011 Grammy awards for Brothers under their belt, an MTV Video Music Award for Tighten Up, more than 850,000 copies of Brothers sold in the U.S., and upwards of a million units worldwide, plus innumerable licensing placements in film, TV, and commercials. El Camino features one stand-out track after another, such as first single Lonely Boy, Gold on the Ceiling, and the surprising, acoustic-guitar-driven, tempo-shifting Little Black Submarines.

This record is more straight ahead rock and roll raw, driving, and back to basics, says Auerbach. As Carney has put it, The Black Keys respect the past while being in the present, and that formula has made them sound like nothing less than the future of rock and roll. While the largely self-produced Brothers, recorded at the famed Muscle Shoals Studio in Alabama, had a more soul and blues-oriented sound, El Camino often recalls the blitzkrieg-paced British-style rock of the 1960s and 70s, post-Beatles and pre-punk: artists like T-Rex, The Sweet, and Gary Glitter, along with the heavier swing of such bands as Led Zeppelin and Black Sabbath.

The references are there, but the sound is very much contemporary and utterly their own, equally informed by The Black Keys' passion for hip hop and R&B and bolstered by the atmospheric production approach of Danger Mouse (a.k.a. Brian Burton), who was behind the boards for 2008's Attack & Release and collaborated with them on the funky Tighten Up for Brothers. As Auerbach notes, Brian understands all the different kinds of music we're into. He's got really great ideas about melody and song structure. For him it's all about the song. Also rejoining them is consistently innovative mixing engineer Tchad Blake, who Auerbach calls a genius with audio, a complete wizard.

El Camino arrives just in time to serve as the ideal holiday gift for The Black Keys' rapidly growing fan base. It came together quickly in an unfettered burst of creativity by the hard-charging pair. They recorded these 11 tracks between tour dates for Brothers at Auerbach's new Easy Eye Studio in Nashville, where he and Carney have now relocated after years of working in their native Akron, Ohio. The duo plans to embark on a six week European Tour at the start of the New Year, with U.S. dates to follow shortly thereafter-including several arenas.

In a time of global austerity, The Black Keys work simply and efficiently, with a minimum of tools and a wealth of ideas, to produce the richest, fattest, coolest music around. Upon the release of Brothers last year, Britain's Uncut magazine called them one of the best rock'n'roll bands on the planet, and El Camino, confirms that.

Like Flies On Sherbert

Import

A step beyond the pop-perfection of Big Star lay Chiltons darker side. His 1979 solo effort was a both brilliant and flawed drug-fuelled examination of his own country roots in search of a new direction. Through songs by Ernest Tubb, Jimmy C. Newman, Roy Orbisonand K.C. and the Sunshine Band, as well as some originals, Chilton produced a looser album that allowed his new found creativity to flow through the many cracks, simultaneously dividing fans into two camps: the Big Star purists, and the ones who were able to see the genius on the flip side of its demise.

Vol. 3 - Life And Times Of S. Carter

Vol. 3 Life and Times of S. Carter is the fourth studio album from Jay-Z.. It exhibits a return to the street-oriented sound of his first album, Reasonable Doubt. Production for the album was handled by several big name hip hop producers, including Swizz Beatz, Timbaland, K-Rob, DJ Premier, Rockwilder, DJ Clue and Irv Gotti.

In celebration of Def Jam's 30th Anniversary, UMe will be reissuing this classic album back on vinyl for the first time in years.

... an album that rocks its worries away without ever getting rid of them. -Stephen Thomas Erlewine, All Music

...a classic power-pop record full of chiming guitar, powerful hooks and sing-a-long choruses ... a record I keep coming back to year after year ... -DS Barrett

1995's 100% Fun is the third leg of Matthew Sweet's Holy Trinity of Power Pop! Produced by Brendan O'Brien, it's a densely-layered production full of grinding guitars, heavy bass lines and BIG drum sounds.

Intervention's 19-track Expanded Edition 2x LP set is the defining presentation of this great album! While the original repertoire's 12 tracks are bigger and better than ever, the 7 Bonus Tracks are on their own 12 45 RPM 180-gram LP!

100% Fun's album art was lovingly restored by Intervention's Art Director Tom Vadakan, and printed as a gorgeous Old Style gatefold by Stoughton printing in LA. It's printed on heavy stock and film-laminated for superior color depth, beauty and durability. The center labels are printed by Dorado.

Mastering Notes

100% Fun is 100% Analog Mastered from the Original Master Tapes by Ryan K. Smith at Sterling Sound. The Master Tapes are 30ips 1/2 analog reels, and the seven bonus tracks are on their own reel. Intervention's cut is big, punchy and dynamic with plenty of producer Brendan O'Brien signature crunch completely intact. Matthew's amazing vocals really shine here amid the layered densities of O'Brien's mix. A big, bold improvement over the 1990s original LP, and so much better than the CD as to make that comparison a total farce.

This title is not eligible for discount.

LP 11. Sick Of Myself2. Not When I Need It3. We're The Same4. Giving It Back5. Everything Changes6. Lost My Mind7. Come To Love8. Walk Out9. I Almost Forgot10. Super Baby11. Get Older12. Smog Moon

Shock Tactics

Of all the bands in the New Wave of British Heavy Metal movement, Samson takes the woulda/coulda/shoulda been big stars prize.

The band's talent and theatricality were undeniable; guitarist and singer Paul Samson had replaced Bernie TormÉ (of Gillan fame) in the band Scrapyard before founding Samson, which soon enlisted the lead vocal talents of a certain Bruce Bruce a.k.a. Bruce Dickinson, soon to be of Iron Maiden. Throw in bassist Chris Aylmer and drummer Thunderstick, who performed inside a metal cage wearing a gimp style mask, and this was an outfit seemingly destined for big things.

But, constant promotional gaffes (e.g. booking them on tour with an ill-matched Robin Trower) led the band to terminate their contract with management, who promptly brought an injunction keeping them off the road. Then, their label(Gem) went bankrupt; as Dickinson says, they made every mistake in the business.

In the midst of all the turmoil, though, the band made its third and finest record, Shock Tactics, which was ably produced by AC/DC producer Tony Platt; but, as Iron Maiden was recording next door at Battery Studios in London, the two bands became friendly, and Dickinson left Samson for Iron Maiden just as Samson received big offers from A&M and RCA, which were instantly withdrawn upon his departure. So, classic music industry saga classic British Heavy Metal!

Real Gone Music is proud to present Shock Tactics inCrimson Loincloth vinyl limited to 700 copies and including the original album insert-first-ever vinyl reissue!

From Acid To Zen (Discontinued)

For the last several years, BigBang have been earning a reputation as one of the most surprising and influential bands to hail from Scandinavia. Coming off the heels of Radio Radio TV Sleep, the best selling live album in Norway's history, BigBang's new album quickly shot to Norway's # 1 album slot. Building on their International success, the band began to play the U.S. in early 2008. Encouraged by radio support from Steve Jones of Jonesy's Jukebox on Indie 103.1 and rave reviews from the U.S. media, the boys returned home to play at the Spot music festival in Denmark and 9 U.K. dates with The Raconteurs. BigBang now returns with their first ever U.S. release From Acid To Zen. The first single will be the track Hurricane Boy.

Led by singer-guitarist Oystein Greni, BigBang lit the powerpop chime and songwriting of Big Star and late-Eighties R.E.M. with the power blues dynamics of Stevie Ray Vaughan's Double Trouble. David Fricke @ Rolling Stone

1. Early December2. Wild Bird3. The One4. Saturn Freeway5. Hurricane Boy6. My First Time7. Savior Soul8. From A Distance9. Wherever You Are10. From Acid To Zen11. Where The World Comes To An End

Bigbang

$15.99

Vinyl LP - SealedDiscontinued, Get one of the last 1 available!Buy Now

LONG.LIVE.A$AP (Deluxe Version) (Awaiting Repress)

Prominent hip-hop rising star A$AP Rocky presents LONG.LIVE.A$AP. The album will feature the buzz worthy "Goldie" and the Noah "40" Shebib produced hit, "F**kin' Problems" featuring hip-hop elites Drake, 2 Chainz and Kendrick Lamar, which was recently most added at urban and rhythm radio and continues to dominate airwaves.

Rapper Bun B (born Bernard Freeman) rose to fame in the duo UGK. Bun B and Pimp C formed UGK in the late '80s when their former crew, Four Black Ministers, fell apart. Based in Port Arthur, Texas, UGK signed with Jive, and with 1992's Too Hard to Swallow began a series of Southern gangsta rap albums that were successful sellers. Bun B formed the side project Mddl Fngz in 2000, but his main concern was still UGK. Things came to halt in 2003 when Pimp C was sentenced to eight years in prison on an aggravated gun assault charge. Bun B carried on solo, making numerous appearances on other artists' tracks and then in 2005 releasing both the mixtape Legends and his debut album, the Rap-a-Lot release Trill, a Top Ten hit. With Pimp C seeing early release in late 2005, Bun B returned to UGK and a self-titled double album from the duo dropped in 2007. Tragedy struck in early 2008 when Pimp C died suddenly, leaving Bun B to return to a solo career. His second solo album, II Trill, arrived that same year with his third, Trill O.G., following in 2010. In 2013 he closed the Trill series with the fourth and final effort, Trill O.G.: The Epilogue.

Un-United Kingdom

The latest 4-song ep from PITCHSHIFTER! The title track Un-united Kingdom pokes fun at the good old United Kingdom, set to a backdrop of spastic break-beats and aggressive guitars and scathing vocals. In fact, its such a catchy tune that it appears twice on the ep ? once in its original form and again as a remix by Fuzz Townshend (Pop Will Eat Itself, Bentley Rythmn Ace).

Pitchshifter (from Nottingham, U.K.) began in the early '90s industrial underground as aggressive social commentators, hearkening back to the early days of British punk and American hardcore (a la the Minutemen and Dead Kennedys). The band signed to Earache in 1992, and their first two releases (the mini-album Submit (1992) and the full-length Desensitized (1993) ) established them as mainstays in the scene. In 1996 they released their Infotainment ep, also on Earache. These albums simultaneously found their way across the Atlantic, capturing the attention of American listeners.

In 1996, Pitchshifter morphed away from their industrial roots, showing a growing interest in technology and computers. Yet the stronger integration of electronics comes without sacrificing either their signature aggressive sound or an upfront political message.

The UnUnited Kingdom ep sees the band still broadening their musical horizons. These tracks (including a Big Black cover) will appeal to fans of crossover break-beat/metal/techno/hardcore.

Say It Like You Mean It

180 Gram Blue/Green Haze Vinyl

Limited To 750 Copies

Etched D Side

Not many 17-year-olds could say that they are already livingout their dreams, but for The Starting Line's singer/bassplayer, Ken Vasoli, life is one big dream. After signing toDrive-Thru at the tender age of 16, Ken took night andsummer classes so that he could graduate from High School ayear early. What was supposed to be his senior year of schoolturned into every kid's fantasy: ayear of touring, traveling thecountry, meeting new people, making new friends,and flyingto the U.K. for the first time to play with label mates and new found friends New Found Glory.

The Starting Line's first release in July 2001 was the 5-song EP With Hopes of StartingOver, which proved to be more rewarding than the band couldhave ever imagined.Twenty-five thousand copies later,TSL isselling out 300-800 capacity venues across the country ontheir first-ever headlining tour.Say It Like You MeanIt, TSL'sdebut full-length showcases a more mature style of song writing well beyond their years, without compromising the sense ofuntainted youth and freshness. The charm of this band is over-flowing in the story-style lyrics,the urgency and the sincerity.The buzz is strong, and is only getting bigger.

LP 11. Up & Go2. Given The Chance3. Leaving4. The Best Of Me5. A Good Night's Sleep6. Almost There, Going Nowhere7. Cheek To Cheek8. Hello Houston9. Decisions, Decisions10. Saddest Girl Story

LP 21. Left Coast Envy2. The Drama Summer3. This Ride4. The Best Of Me (Acoustic)5. Greg's Last Day

Offering a glimpse at the MC's fiery and fresh style, "Luxury Vintage Rap" highlights his wise and wicked wordplay over nineties-style production. With a bulletproof cadence, he serves up slick, sizzling, and scorching bars such as, "I'm cut from Biggie's Gucci sweater cloth."

Growing up in the tiny town of Walterboro, SC, Nick Grant found a window to a much bigger world through hip-hop as a kid. He obsessed over classics by Jay-Z, 2Pac, Nas, OutKast, and A Tribe Called Quest, while writing countless rhymes of his own. In 2014, he inked a deal with Culture Republic-run by music industry veterans Jason Geter, Chaka Zulu and Bernard Parks, Jr. February 2016 saw him unleash his '88 mixtape featuring collaborations with the likes of Killer Mike and Big K.R.I.T. Soon, he was garnering praise from Vibe, XXL, HipHopDX, Pigeons and Planes, and more in addition to lighting up the 2016 BET Hip-Hop Awards Cypher as well as Funk Master Flex's Hot 97 radio show and Sway in the Morning. In 2017, Grant harks back to rap's revolutionary era over two decades ago, while bringing a decidedly modern heat of his own. With an impressive production line-up that includes Organized Noize Productions, Karriem Riggins, and DJ Khalil. Get ready for the Return of the Cool.

...Like Clockwork

The first album in 6 years from JOSHUA HOMME, TROY VAN LEEUWEN, MICHAEL SHUMAN, DEAN FERTITA, plus...for the recording, the return of Songs For The Deaf members, DAVE GROHL on drums, NICK OLIVERI and MARK LANEGAN

For their first album in six years, Joshua Homme's mighty Queens Of The Stone Age called back classic members Dave Grohl and Joey Castillo on drums, and Nick Oliveri and Mark Lanegan on vocals. In addition, some big names came in to perform: Elton John, Trent Reznor, Alex Turner (Arctic Monkeys), Jake Shears (Scissor Sisters), James Lavelle (U.N.K.L.E.) and more. Of course the current lineup of Troy Van Leeuwen, Michael Shuman and Dean Fertita also feature throughout.

...Like Clockwork contains Homme's most intense, personal and beautiful songwriting to date. While the thunder of Queens past is still evident (especially in lead single "My God Is The Sun") there are a number of gorgeous ballads - meditations on time passing, the struggle to create art, and the nearness of mortality.

The music lives up to the album's lyrical and conceptual ambitions, with some of Homme's finest guitar work to date, at times recalling past greats such as Brian May or George Harrison, at other times uniquely his own. The rhythm section starts and stops on a dime, and in some of the more complex songs, the ensemble playing is virtuosic - but never sterile.

The striking album artwork, imagery and intro animations are by young British artist Boneface, working closely with Homme.

1. Keep Your Eyes Peeled2. I Sat By The Ocean3. The Vampyre of Time and Memory4. If I Had A Tail5. My God Is The Sun6. Kalopsia7. Fairweather Friends8. Smooth Sailing9. I Appear Missing10. Like Clockwork

...Like Clockwork Deluxe Edition

Limited Edition Ultrathick Cover, High Quality Vinyl Pressed At Pallas In Europe, And Includes A 20 Page 12x12 Book.

The first album in 6 years from JOSHUA HOMME, TROY VAN LEEUWEN, MICHAEL SHUMAN, DEAN FERTITA, plus...for the recording, the return of Songs For The Deaf members, DAVE GROHL on drums, NICK OLIVERI and MARK LANEGAN

For their first album in six years, Joshua Homme's mighty Queens Of The Stone Age called back classic members Dave Grohl and Joey Castillo on drums, and Nick Oliveri and Mark Lanegan on vocals. In addition, some big names came in to perform: Elton John, Trent Reznor, Alex Turner (Arctic Monkeys), Jake Shears (Scissor Sisters), James Lavelle (U.N.K.L.E.) and more. Of course the current lineup of Troy Van Leeuwen, Michael Shuman and Dean Fertita also feature throughout.

...Like Clockwork contains Homme's most intense, personal and beautiful songwriting to date. While the thunder of Queens past is still evident (especially in lead single "My God Is The Sun") there are a number of gorgeous ballads - meditations on time passing, the struggle to create art, and the nearness of mortality.

The music lives up to the album's lyrical and conceptual ambitions, with some of Homme's finest guitar work to date, at times recalling past greats such as Brian May or George Harrison, at other times uniquely his own. The rhythm section starts and stops on a dime, and in some of the more complex songs, the ensemble playing is virtuosic - but never sterile.

The striking album artwork, imagery and intro animations are by young British artist Boneface, working closely with Homme.

1. Keep Your Eyes Peeled2. I Sat By The Ocean3. The Vampyre of Time and Memory4. If I Had A Tail5. My God Is The Sun6. Kalopsia7. Fairweather Friends8. Smooth Sailing9. I Appear Missing10. Like Clockwork

Past, Present And Future

Al Stewart's Past, Present and Future launched the artist from being an English coffeehouse stapleinto a worldwide rock superstar thanks to the intriguing lyrics and melodies contained within the two sidesof this 1974 masterwork. While achieving cult-like status in the U.K. with his unique brand of folk/rock,Past, Present and Future featured some of Al Stewart's finest songs like the prog-rock champions Roadsto Moscow, Soho (Needless to Say) and his timeless masterpiece Nostradamus.

While playing college gigs and opening for major recording acts across the states, Al Stewart's Past,Present and Future grabbed the attention of astute rock radio programmers who had discovered the U.K.import of this classic before it reached North America. Soon, tracks like Terminal Eyes ignited a wave ofrequests, developing the popularity further, while having the luxury of entire sides being played on themore esoteric FM radio stations across the states.

Aside from being a brilliant composer and wonderful vocalist, Al Stewart also plays some meanacoustic and electric guitar alongside some of the most important players of our time like Rick Wakeman,Roger Taylor, Tim Renwick and many others.

Friday Music is no stranger to the important musical catalog of Al Stewart. Therefore, it is with muchhonor to continue the Al Stewart Friday Music 180 Gram Audiophile Vinyl Series with the first time audiophileLP release of Past, Present and Future. Impeccably mastered from the original Janus Records tapesby Joe Reagoso (Al Stewart/Yes/Traffic), this long out-of-print vinyl album is now back for you to enjoy ina big way.

For this 40th Anniversary special limited edition release, we are also including the original rare albumcover artwork elements, in a first time gatefold cover, which will also enhance your hours of listening.

Soho And Needless To Say

1. Old Admirals2. Warren Harding3. Soho (Needless to Say)4. The Last Day of June 19345. Post World War Two Blues6. Roads to Moscow7. Terminal Eyes8. Nostradamus

Joe Jackson - Collected

180-Gram Audiophile Vinyl

Gatefold Sleeve

High-Quality PVC Protective Sleeve

Featuring ''Fools In Love'', ''Is She Really Going Out With Him?'' And ''It's Different For Girls''

Joe Jackson's debut single, ''Is She Really Going Out With Him?'', was not an immediate hit; however, by the time his debut album Look Sharp! was released, the song had reached charts in the U.K. and U.S., earning him a gold record. For the follow-up, he produced the top 5 hit ''It's Different For Girls'', Joe received the highest musical accolade of the Netherlands, the Edison Award.

After two edgy new wave pop records, his next tracks included some reggae influences such as the tracks ''One to One'' and ''Mad At You'', while ''Jumpin' Jive'' - recorded with jazz musicians - was full of old jump blues and swing tunes.

The huge commercial success came with his crafted pop songs ''Steppin' Out'' and jazzy ''Breaking Us In Two'' climbing the charts worldwide. Joe Jackson produced even jazzier hits in 1984 such as ''Happy Ending'', (a duet with Elaine Caswell), ''Be My Number Two'' and ''You Can't Get What You Want''.

The album Big World (1986), a live album of entirely new material including ''Home Town'', was recorded during six concerts. It is not a regular live album though, the audience was asked to be quiet during the songs and the applause was edited out.

The pop song ''Nineteen Forever'' was part of a larger construction from the album Blaze Of Glory, designed to tell a semi-autobiographical story. In 1991 Joe Jackson decided to abandon pop once and for all in favor of more serious music. It spawned the track ''Stranger Than Fiction''.

Joe Jackson - COLLECTED is a comprehensive series of sounds Joe Jackson has gone through, from old to new, this collection will never get boring!

LP 11. Fools In Love 2. Is She Really Going Out With Him?3. Look Sharp! 4. Got The Time 5. Sunday Papers6. It's Different For Girls 7. I'm The Man8. Mad At You 9. Beat Crazy 10. One To One11. The Harder They Come 12. Jumpin' Jive13. Another World 14. Steppin' Out

LP 21. Real Men 2. A Slow Song3. Breaking Us In Two4. Be My Number Two5. You Can't Get What You Want (Till You Know What You Want)6. Happy Ending (feat. Elaine Caswell)7. (He's A) Shape In A Drape 8. Nineteen Forever9. Stranger Than Fiction 10. Home Town (Live)11. Is She Really Going Out With Him? (A Capella Live)

Joe Jackson

$34.99

180 Gram Audiophile Virgin Vinyl LP - 2 LPs SealedHurry, only 1 left! Usually ships within one business day!Buy Now

Open Up And Say Ahh

The Blockbuster Multi Gold & Platinum Second Album...Now With The Long Out Of Print Rare Front Cover Artwork

Mastered Impeccably By Joe Reagoso At Friday Music Studios From The Capitol Records Tapes

Featuring Smash Hits Every Rose Has Its Thorn, Your Mama Don't Dance, Nothin' But A Good Time, & Back To The Rocking Horse

As a huge follow-up to their dynamic first multi-platinum album Look What The Cat Dragged In, Poison returned with the mega hard rock metal classic Open Up And Say Ahh!

Produced by Tom Werman (Cheap Trick) this hard rockin' event catapulted this band into even further fame thanks to the big number of hits singles and rock radio tracks that forever etched the name superstars to this band.

Featuring such chart toppers as Nothin' But A Good Time, the Loggins and Messina classic Your Mama Don't Dance and of course the #1 power ballad Every Rose Has Its Thorn, Open Up And Say Ahh! was truly a milestone release for Poison.

Friday Music is once again pleased to announce the continuing Poison 180 Gram Audiophile Vinyl series with their multi-platinum chart topping Open Up And Say Ahh! Mastered impeccably by Joe Reagoso (Poison/Alice Cooper/David Lee Roth) from the Capitol Records tapes at Friday Music Studios, this watershed classic truly shines and is a perfect audiophile vinyl addition to your hard rock listening.

For this limited edition release, we have included a stunning first-time gatefold cover, with the hard to find original art elements from this late eighties classic.

If you looking for Nothin' But A Good Time... check out the limited edition audiophile vinyl release of Open Up And Say Ahh! by Bret Michaels, Bobby Dall, Rikki Rockett and C.C. DeVille a/k/a POISON... from your friends at Friday Music... ROCK ON!

1. Love On The Rocks2. Nothin' But A Good Time 3. Back To The Rocking Horse

The Bright Mississippi

Through his work as producer, composer, arranger and consummate session man, New Orleans native Allen Toussaint has truly earned living-legend status. He has collaborated on landmark recordings for such artists as Ernie K. Doe, Lee Dorsey, Dr. John, the Meters, the Pointer Sisters and Labelle and released acclaimed albums of his own. The 70 year-old pianist, already a Rock and Roll Hall of Fame Inductee, was the recipient, on the recent Grammy Awards telecast, of the Recording Academy's prestigious Trustee Award, honoring a lifetime in the studio, both behind the scenes and in front of the mic.

On The Bright Mississippi, his Nonesuch debut, Toussaint continues to break new ground with his first jazz-oriented set, displaying the same effortless swing and relaxed charm he brought to his classic rock and roll sides. He salutes Big Easy stars of a previous generation, the jazz greats who, in the early 20th century, built the genre from the ground up and turned the ears of the world to New Orleans. Backed by an all-star combo that sounds like a group of old friends, Toussaint reinterprets classic jazz and blues tunes popularized or written by such New Orleans greats as Louis Armstrong, Sidney Bechet, Jelly Roll Morton and Joe King Oliver, as well as pieces composed by fellow travelers Django Reinhardt, Duke Ellington and Thelonious Monk. He accedes the producers chair to trusted friend Joe Henry, who sat behind the board for Toussaint's contributions to Our New Orleans, Nonesuch Records best-selling 2005 benefit release aiding hurricane victims on the Gulf Coast. Henry also produced The River In Reverse, Toussaint's 2006 post-Katrina collaboration with Elvis Costello.

Henry assembled a decidedly non-traditional band of backing players for The Bright Mississippi, assuring a fresh take on such venerable tunes as West End Blues, St. James Infirmary, and Dear Old Southland. Joining Toussaint for four days of sessions at Manhattans Avatar Studio were guitarist Marc Ribot (Costello, Tom Waits), bassist David Piltch (k.d. lang), clarinetist Don Byron, trumpeter Nicholas Payton and drummer Jay Bellerose (Robert Plant /Alison Krauss, Sam Phillips). Nonesuch label-mates Brad Mehldau (piano) and Joshua Redman (saxophone) stopped by for one tune each.It was wonderful, says Toussaint of these convivial sessions.

Everything is live, of course. This isn't the kind of assembly line music where somebody put the wheels on here and somebody put the top on there. Everything got done at the same time, so everybody fed on each other, their personality and tonality.

Moody Blues: Collected

Import

4 Page Booklet With Liner Notes And Photos

Solid Selection Of Songs By The Band's Career, Including Go Now, Nights In White Satin, Never Comes The Day, Gypsy, I Never Thought I'd Live To Be A Hundred, I'm Just A Singer (In A Rock 'n Roll Band) And Many More

The Moody Blues formed in the early 1960s in Erdington, Birmingham, England. Ray Thomas, John Lodge, and Michael Pinder had been members of El Riot & the Rebels. They disbanded when Lodge went to college and Pinder joined the army. The pair recruited guitarist/vocalist Denny Laine, band manager-turned drummer Graeme Edge, and bassist Clint Warwick. The five appeared as the Moody Blues for the first time in Birmingham in 1964.

It was the single, Go Now (released later that year), which launched their career. The single became a huge hit in the U.K. and landed the number 1 spot in the charts. The band soon realised that their style of R&B-derived rock and pop was not working for them and decided to develop an original new style, featuring the symphonic sounds of the mellotron and Ray Thomas' flute.

Assigned to make a rock and roll version of Antonin Dvorák's New World Symphony, Moody Blues insisted that they be given artistic freedom and be left without supervision. The result was Days of Future Passed (1967), which combined the band's tracks with orchestral interludes arranged and conducted by Peter Knight. The album plus two singles, Nights in White Satin and Tuesday Afternoon, became substantial hits.

Their follow-up album was In Search of the Lost Chord (1968). The album was again a big success with hits as Ride My See-Saw and Voices in the Sky. Their next album On a Threshold of a Dream (1969) featured the sensitive ballad Never Comes a Day and was their first number 1 album in the U.K.

The band's music continued to become more complex and symphonic, resulting in 1969's To Our Children's Children's Children, a concept album. It closes with the fan-favorite Watching and Waiting. To Our Children's Children's Children was also the first release of the group's own founded label, Threshold Records.

Released in 1981, Long Distance Voyager was a success, reaching number 1 on Billboard and top 5 in the U.K. The album featured the hit, The Voice, written by Hayward.

The remaining Moody Blues trio continues to tour and to this day the Moody Blues are one of classic rock's most enduring institutions, with world-wide sales of nearly 80 million albums and a following that continues to support the band. COLLECTED by Moody Blues is a careful selection of the distinctive sound of the band, presenting the different periods the band has gone through.

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